• 영어영문학
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• 제64권1호
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• pp.95-116
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• 2018

Although acclaimed as George Eliot's masterpiece, Middlemarch: A Study of Provincial Life (1871-72) has been attacked by feminists since shortly after it was serialized. The main cause of feminist criticism is that she portrays her heroine, Dorothea Brooke, in an androcentric viewpoint and describes her lived experiences through male discourses. In order to identify what such feminist criticism originates in, this article places the novel in the sociopolitical contexts where Dorothea lived while authoring herself, and then analyzes it with M. M. Bakhtin's two important concepts, self-authoring and architectonics. As a result, Middlemarch has many shortcomings in the phases of the heroine's self-authoring and eventually the architectonics. In case of self-authoring, Eliot does not fully explain Dorothea's responses to her first husband and egoistic priest Edward Casaubon, and then her second husband and English-Polish dilettante Will Ladislaw until she reaches her ultimate marriage conclusions. Incessant authorial intervention obstructs the heroine's smooth interactions with her two husbands. In addition, the novel does not provide any sufficient comments about Dorothea's responses to Middlemarchers' opinions even if handling their opinions in the heroine's self-authoring influences the novel's persuasiveness. Dorothea's story has proved its own limitations by its frequent omissions and authorial intrusions. In Bakhtin's terminology, Middlemarch does not properly contain I-formyself, the-other-for-me, and I-for-the-other. It can be said that these shortcomings resulting from Eliot's cross-dressing narrative have caused attacks by feminists.

• 동남아시아연구
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• 제21권1호
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• pp.287-314
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• 2011

There are many versions of the thai folktale "Pla Boo Thong" in Thailand, which is a typical type of stepmother story and in many ways resembles Cinderella story. This study, the author took 6 versions, some from books, some from internet. The main story of those 6 version is consist of the death of mother, stepmother and step sister, the maltreat of the stepmother to the heroine, tiding over the critical moments with the help of the dead mother and others, getting married with the king and happy of the heroine, death of the heroine by the slander of stepmother, posing as a queen of the stepsister, reincarnation of the dead heroine, meeting with the king again, and punishment and the stepmother and stepsister. The main theme of this narrative is a conflict in the polygamic family and is followed by the pattern of the Cinderella tale such as the distinct contrast of Good and Evil. This tale also teaches teachings of Buddha such as the punitive justice, the promotion of virtue and reproval of vice, and forgiveness. And otherwise it gives the people the courage and hope to overcome fortitude in their life.

• 비교문화연구
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• 제19권
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• pp.149-179
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• 2010

This article is concerned about the symbolic meaning of the transvestism Renaissance perspective through analysis of Triumph Over Persecution work and The Merchant of Venice, and Jealous Ioan Tornese. The transvestism is frequently present in the comedies of the golden age. A woman author Maria de Zayas has a special interest in female identity with critical and defying view. Also the subject of the transvestism in Spanish literature originated in Italian tradition. In Italian literature, there were two types of disguised women, who urge for love and warrior-heroine(amazon). Both types are also listed in Spanish literature. The dress-crossing heroine of Triumph Over Persecution displays a type of heroine, who corrects a male prejudice and reset a harmonious order. Shakespeare is also one of the Renaissance writers under the influence of the Italian Renaissance novel. Heroine of Merchant of Venice symbolizes a triumphant challenge against the blocks of the patriarchal system. In spite of the social system blocks, cross-dressing women may receive in the patriarchal scenes without problems. Based on the notion of paradox and irony, the Italian novel reflects popular psychology of the time when the link between the internal identity and social outside puts into question. The cross-dressing Torneses' wife, symbolizes the mockery or renaissance deception. Their deception emphasis on an ironic way in the point view of inhuman man who consider women material belongs to the man without any free-will. The costume of the characters make it possible to change their original identity into the other. From this point of view, we can say that the transvestism in these works could be interpreted in two ways: first, the destruction of the traditional categories of women's identity and second, the burlesque contempt on the patriarchal renaissance society.

• 복식
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• 제55권7호
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• pp.22-37
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• 2005

The purpose of this study is to analyze TV drama clothes that is reflected in domestic TV fashion style. Frist of all, luxiry look is one of drama cloth's signiture look. It takes a imported brand wear and a high price accessories. Especially, the hero and heroine of the drama 'Fine lady' wear imported brand jacket and a accessories as earrings, shoes and bags are in fashion. Also the hero of the drama 'The room of a roofiop's cat' wear Armani shirts and Kenzo suits. Second, nowadays sportive look is one of fashion trend and young people's representative look. The drama 'The room of a rooftop's cat' has define trends when it comes to training wear. And the training wear is a big hit because of drama 'The room of a rooftop's cat' hero and heroine. Third, utility look shows a practical wear and comfortable wear The utility look's items is shirring T-shirt, cargo pants and jeans. In addition to that drama's hero and heroine make a lots of fashion. The hero of drama 'Winter sonata' of hair style and matching muffler is in fashion. Also TV drama's fashion is a potent influence.

• 셀메드
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• 제6권4호
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• pp.25.1-25.2
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• 2016

The purpose of this study is to examine Ssukdaemeori of Chunhyangga may have effect on depression for music therapy. Ssukdaemeori of Chunhyangga, one of the five surviving stories of pansori (a long epic song), is a touching, sad song in Han Ak (Korean music, 韓樂). In this paper, the author reports on the very sad song, Ssukdaemeori. While listening to the song, Koreans feel the same amount of despair when Ssudaemeori's heroine, Chunhyang, cries out in hopelessness and grief. The author argues that Koreans get to see the saddest parts of themselves reflected back at them in the sorrowful sight of the heroine. It is also believed that Ssukdaemeori has contributed to the healing of Koreans' indignation and pain. For example, depression is currently a social problem. However, listening to sorrowful music like Ssukdaemeori can have a good effect on people feeling sad and depressed.

• 영미문화
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• 제18권4호
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• pp.189-213
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• 2018

This paper aims to show how Thomas Hardy overturns conventional ideas in opposition and eventually disrupts the hierarchical order of ideas in the Victorian society of Tess of the D'Urbervilles. Divided into four sections, such as feeling/reason, purity/impurity, femininity/masculinity, and death/life, it examines how these binaries are deconstructed in the heroine's tragic life journey. The heroine Tess of the book, who boldly crosses the boundaries marked by traditional society, turns her image as a fallen woman into that of divinity, erasing the boundary between evil and good. In doing so, Hardy leads the reader to question the system of established values and reveals the illegitimacy of absolute values, thence stressing what all one can grasp in this world is nothing else than an absence of a central value. The relativity of truth and the power of overturning established value systems advertised in the book have significant implications for today's readers as well as for the Victorians.

• 영어영문학
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• 제56권6호
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• pp.1105-1117
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• 2010

This study traces out female identity and sexuality in George Du Maurier's novel, Trilby. The heroine's sexuality in this novel plays some interesting roles invoking both male gaze and male homosocial desire. There seems to have been lots of debates about female subjectivity and gender relations in the Victorian age. George Du Maurier tries to redefine female identity which had been divided into two aspects in the age: angel and demon. When he describes Trilby's identity, the fixed duality as fallen, demonic and autonomous women might have been considerably fluid. Rather than returning to the old boundaries of female subjectivity and identity through his heroine, he unwittingly describes the female role as an erotic organizer. As Du Maurier shows that Trilby's identity plays a conduit role for male homosocial desire, he created the tension between masculinity and femininity and revealed a changing relationship between female nature and male culture as well. Furthermore, when George Du Maurier in his novel opened a new possibility for an erotic organizer through his heroin, Trilby, he seems to have represented the more fluid female role in the patriarchal culture that asked only some fixed roles for women.

• 한국의류산업학회지
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• 제20권3호
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• pp.257-265
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• 2018

This study investigated the colors of the costumes in the film 'The Handmaiden'. The author categorized and examined the hue and tone of the main character's costume as well as provided an adjective image surveyed from the standpoint of the audience in order find if the intended story of the director is delivered to the audience through costume colors. Study method analyzed 25 set costume colors of the heroine 'Hideko'. The color analysis were analyzed by capturing DVD images that showed the costume of 'Hideko'. The colors of costumes were analyzed by recognition through the eyes based on the IRI, Hue, and Tone 120. In addition, the analysis of the IRI adjectives image were conducted through the survey. Costume hue of the heroine 'Hideko' in the film 'The Handmaiden' were black, yellow, white, green, and purple. There were many colorful costumes in the movie. Tones were very pale, deep, bright, vivid, strong, and pale. Chroma were evenly distributed and brightness were distributed in the order high, middle, and low. They were interpreted as the intention of showing the situation and psychology of 'Hideko' in various scenes of the film through various costume colors. Color images of the film 'The Handmaiden' were classified as feminine, mature, classy, delicate, classic, noble, polished, refined, showy, western, mellow, pure, and decorative.

• 패션비즈니스
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• 제9권1호
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• pp.99-112
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• 2005

The purpose of this study is to create party wear of heroine Satine's image. This study analyzed the costume and its image of the film "Moulin Rouge" which the director Baz Luhrmann filmed the club 'Moulin Rouge' has existed in Paris, France. Catherine Martin, who got the Academy awards in movie costume and art director with this film, made the costume which was added more gorgeous and modern sense for the image beauty for costume in film from the costume design which appeared in the art work of Toulouse-Lautrec painted Moulin Rouge. In the costume form, S-silhouette robe with gored skirt was appeared as usual garment and gorgeous corset style costume which was outer garment like underwear exposed of the body, pleasant apolaustic and decorated excessively was appeared for costume design. Based on the above study, this study created the party wear of the graceful eroticism image and the prostitute eroticism image of heroine Satine. The costume design of Satine's image was planned along the character which was analyzed through this study.

• 한국의상디자인학회지
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• 제2권1호
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• pp.133-145
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• 2000

Costume in movies are used as an instrument to signify the personality image and status of characters, and even the main theme of movie itself. The purpose of this paper is to verify the feministic meaning of bloomer costume used in movie, 「OSCAR and LUCINDA」. The bloomer costume was anti-fashion in crinoline period, when women was normally not allowed to put on trousers. To achieve the purpose, I used content analysis to obtain meanings from existing literature and video tapes(including, slides and pictures). Bloomer costume, introduced by Mrs. Amelia Bloomer at 1850s, is an anti­fashion to express women's right to wear trousers that were exclusively used by men since the medieval age. In this sense, bloomer costume itself is a costume expressing values of women's emancipation movement. In 「OSCAR and LUCINDA」, heroine, Lucinda, with bloomer costume is described as a woman who has strong motivation toward work, who actively looks for a man she loves, and who has free­will to involve herself in what she wants, even gambling. This is not surprising in a sense that Lucinda's bloomer costumes itself signifies the meanings of feminism. I found that bloomer costume was well described in the movie from the historical point of view. But some details, including type of trousers, were expressed without strict historical evidence. Overall, it is certain that 「OSCAR and LUCINDA」, with a heroine wearing bloomer costume was a big step towards women's emancipation in movies.